Watch the video and then buy it here
(via)
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Glenn Marshall writes programs that (sometimes) take music as an input and produces spectacular results. From the page for the top video:
Metamorphosis is programmed entirely in Processing, it’s the follow up to my Music is Math video. I developed my ‘zeno’ animation system a bit more to allow for nebulous additive blending as well as a few other things. The music is by Boards of Canada again – the track ‘Corsair’ from the Geogaddi album.
He writes about the second video, Music is Math:
I just let the program run till the end of the music, I felt reluctant to interfere too much by trying to sculpt an ending, and just let the code run its own natural course.
see all his vimeo videos here and more information on butterfly.ie
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Gijs Gieskes has made many wonderful machines from gameboys or other machines which he’s circuitbent.
He writes about the Acid Machine:
The circle with the lines that you see on the top of the machine, rotates and displays the note you are playing.
When you play a C the lines in the middle circle will be standing still.. from the C it will go outward, displaying all notes on a keyboard in 12 steps.It works by making a LED blink in the frequency of the sound, and rotating the image at a set speed.
more information here
(thanks, kevin!)
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Janine Vangool of Uppercase Gallery has posted a wonderful flickr set of her collection of vintage typewriter ribbon tins.
Poppytalk has a Q&A with Janine on her collection.
(thanks Susan!)
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“I once asked Ivan Sutherland how could you have possibly done the first interactive graphics program, the first non-procedural programming language and first object oriented software system all in one year. He said, ‘Well, I didn’t know it was hard’”
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The secret lives of invisible magnetic fields are revealed as chaotic ever-changing geometries . All action takes place around NASA’s Space Sciences Laboratories, UC Berkeley, to recordings of space scientists describing their discoveries . Actual VLF audio recordings control the evolution of the fields as they delve into our inaudible surroundings, revealing recurrent ‘whistlers’ produced by fleeting electrons . Are we observing a series of scientific experiments, the universe in flux, or a documentary of a fictional world.
source and more information here
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Virtual Ball Pit from Kevin Atkinson on Vimeo.
Kevin Atkinson created a neat virtual ball pit application that works in real time:
I’ve been playing with real-time physics libraries for a while, both 3d and 2d, and I’ve been wanting to do something for a while, but I’ve found it surprisingly difficult to come up with anything that grabbed me. But a couple weeks ago I had a brainwave and wrote this in just a couple days.
For those interested in such things, I didn’t use Box2D, which seems the current champ in developer mindshare in this tiny niche. I started out using it, and it’s quite nice, but it just wasn’t fast enough when I used enough circles/pixels to generate an intelligible representation of the video stream (there’re about a 1000 used in the demo above). Luckily, I chanced across the chipmunk physics library which uses some kind of fancy-pants geometric hashing to speed up collision testing, and it works quite nicely in real-time with 1000 pixels/circles.
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Michael writes:
About 7 years ago I was reading an article on Claude Shannon and came across one of the funniest ideas I had ever heard. Claude, you see, was one of these incredibly brilliant engineers with an obviously great sense of humor. As I understand it, he, along with Marvin Minsky came up with an idea they called the “Ultimate Machine”. Basically a plain box with a switch on the top. When you flip the switch, a hand comes out of the box and flips the switch off. Thats it.
Well, after reading the article, and laughing out loud, I decided that I HAD to build one of these boxes. So simple, and yet so funny.
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Science Machine from Chad Pugh on Vimeo.
The 21″ x 13″ print can be purchased at my new store! store.thebigpugh.com
This piece inspired the login illustration that vimeo commissioned from me for their redesign earlier this year; it is still in use throughout the site. The video is a condensed time lapse of screenshots over a several month period. Total physical drawing time is close to 40 hours and I’d add an equal amount of time for concept time and readying the print. A screenshot was taken every 5 seconds, which actually results in a full 18 minute video. I’ll upload that for posterity later.
My life has changed a lot since i started this, so I thought it appropriate to include my friends, family and loved ones since they all were on my mind throughout the creative process. Enjoy!
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Any tall construction has to be engineered to with stand the forces of the wind. You can accomplish this in two ways – making something so heavy the wind could never push it over, or make your construction so sparse as to not give the wind hardly anything to push against. For the tower Gustave Eiffel – a master of iron bridges and probably the first serious student of aerodynamics – used an iron filigree such that the wind has almost no grip on it even though it is constructed of over 15,000 pieces. If melted down to the size of it’s base (about four acres) the molten iron would rise to a height of only about 2.3 inches.
Before the four buttresses met at the first platform 180 feet off the ground they had to be supported by large wooden trusses. If any of them was off by even a tenth of a degree it would mean inches of difference at the top. To solve this problem Eiffel put the temporary trusses on hydraulic jacks so the permanent sides could be adjusted slightly for the pieces that connected them.
To get the pieces up the tower a set of “creeping cranes” was employed using the future elevator rails as they were constructed. The cranes could construct about 30 feet above their position and then ascend to begin the process again.
Probably the first important work of Modernism, the tower had to give into a few Victorian aesthetics of the time. On the first platform gingerbread arches that were purely decorative were eventually removed. Also, below the first platform are arches meant to remind Persians of their bridges. These arches have no structural purpose thus some find they are a discredit to the structural simplicity – while others find them a pleasant compliment to the exterior curves. Either way the remain to this day.
Finished in 1889 (where it served at the entrance arch for Exposition Universelle) at a final height of 1,063 ft (at the antenna) it was not surpassed in height until New York City’s Chrysler Building was finished in 1930.
Wikipedia – Eiffel Tower
Thanks to Mario Salvadori’s Why Buildings Stand Up
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